Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Earth tone
6 Popular speaker
10 Unlike Wabash
College
14 “Voilà!”
15 Over
16 Company with a
Select Guest
loyalty program
17 Ladies’ man with
laryngitis?
19 Ultimately earns
20 Airport NNW of
IND
21 Spicy cuisine
22 A native of
23 Goneril’s
husband
25 Revered sage, in
India
27 Sweeps, e.g.
28 Infant at bath
time?
29 1995 “Live at
Red Rocks”
pianist
30 African scourge
32 Indian silk-
producing region
34 Suffix with ethyl
35 “Same here”
40 Counsel
43 Cheer
44 High schooler
just hanging out?
48 Highest peak in
the Armenian
plateau
50 Armed ocean
dweller?
51 Makes it right
52 Pride parade
letters
53 “Macbeth” spot
descriptor
55 Division of the
Justice Dept.
57 Buffalo’s county
58 Ordinary-looking
fashion VIP?
60 Marketing
opener
61 “What a shame”
62 Really like
63 Aren’t really,
maybe
64 Nasdaq
competitor
65 Like Vikings
DOWN
1 Emperor after
Galba
2 Bach works
3 Word associated
with Sleepy
Hollow
4 Goof
5 Checkout
correction,
perhaps
6 “Point Break”
co-star
7 Vision: Pref.
8 They’re meant for
each other
9 Makes beloved
10 Informal
discussion
11 Last book of
Puzo’s
“Godfather” trilogy
12 Bury
13 Alarm
18 “Trophy,
Hypertrophied”
artist
24 __ Men: “Who
Let the Dogs
Out” band
26 Follow
27 Rail system that
services 20-
Across
28 Dahomey, since
1975
31 One at a time
33 Actor Damon
36 OPEC founding
member
37 Ring fighter
38 Pop-up items
39 As of 1937, he
was the all-time
N.L. home run
leader until Mays
surpassed him in
1966
41 Like many a
successful poker
player
42 Consumed
44 Keys
45 Unilever
deodorant
brand
46 Likely to change
47 Regard
49 Serling’s birth
name
51 Ouzo flavoring
54 “Serpico” author
Peter
56 Hightail it
59 “Star Trek: DSN”
changeling
By Mark Feldman
©2017 Tribune Content Agency, LLC
02/17/17
02/17/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, February 17, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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or UM employees. Please contact Lisa
Call at 734-647-6582 if you are
interested in participation.
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FOR RENT
HELP WANTED
New Oscar shorts vibrant
Some of the most (tragically)
overlooked categories in film are
those of the short film. This year’s
crop of Oscar contenders for the
Live Action Short category prove
feature-length films aren’t the
only way to make movies. From
dance comedies to immigration
dramas, the one
thing all five films
have in common is
that none of them
are
in
English.
Seen together, they
paint
a
diverse
picture
of
life
across the European continent.
“Mindenki
(Sing)”
—
Hungary — 25 minutes
The shorts begin on a high note
with Kristóf Deák’s endearing
“Sing.” One of the best portrayals
of adolescent girlhood this year,
the short centers on an award-
winning school choir that boasts
inclusivity and only half practices
it. The plot sets up an expected,
though not unappreciated ending.
But what really solidifies the short
is the performance of the young
lead, Dorka Gáspárfalvi. There’s a
scene early on in which she sings,
barely above a whisper, alone to
herself. She looks in the mirror
at the way her mouth moves, her
voice so light it comes in and out of
audibility. That moment and much
of the rest of the film are some of
the most genuine portrayals of
youth in film this year.
“Silent Nights” — Denmark —
30 minutes
Often, short films feel like
pitches for longer movies. Such
is the case with “Silent Nights,”
a film from Danish director
Aske Bang. A young woman
working at the Salvation Army
begins a relationship with a
homeless Ghanaian immigrant
who comes to the
shelter.
“Silent
Nights” packs an
emotional punch,
but ultimately tries
to tackle too much
— love, addiction,
death,
racism,
pregnancy — for its half-hour
runtime. The film oozes potential
and, given a feature length and a
better script, it could be incredibly
impactful.
“El corredor (Timecode)” —
Spain — 15 minutes
Unlike its peers, “Timecode”
is something wholly unexpected.
Purely sweet and surprising, it
doesn’t comment on the state
of the world except to say that
everyone is looking for a way to
be happy. The fifteen-minute film,
by far the shortest of the selection,
follows
two
security
guards
working in a parking garage as
they find ways to pass time and
communicate across shifts. To
say anything more about the
plot would do a disservice to the
surprise Juanjo Giménez has
expertly crafted.
“Ennemis
intérieurs
(Enemies Within)” — France —
27 minutes
The strongest of the lineup
is
also
the
most
topical.
French director Sélim Azazzi’s
immigration drama is set in the
’90s, following a French-Algerian
seeking
French
citizenship
during the Algerian Civil War, but
it could be set today. “Ennemis
intérieurs” shines a harsh light
on the sort of broad-brush blame
and
Islamophobia-inflected
immigration policy across the
Western world. The best-acted of
the contenders, the short is also
the most heart wrenching, asking
its audience to take a look at what
the threat to the nation really is.
“La Femme et le TGV (The
Railroad Lady)” — Switzerland
— 30 minutes
The brightest and ultimately
weakest of the lineup comes from
Swiss director Timo Van Guten.
Jane Birkin (yes, Jane Birkin)
plays a lonely woman who, after
years of waving to the TGV train
that passes by her home, develops
an epistolary relationship with
the driver. A social recluse who
passionately lives in the past, most
of her problems are self-inflicted.
The plot plays out expectedly,
giving Birkin plenty — probably
too many — of opportunities
to flux between perplexed and
borderline senile. It’s cute and
almost quirky, and not much
more.
MADELEINE GAUDIN
Senior Arts Editor
SHORTSHD
Lupe’s latest evades praise
Lupe Fiasco peaked too early,
and he knows it. In his own
review of his own album, posted
on Twitter, he asks what more
there is to prove, and he has a
point. His discography paints
a complicated picture; Food &
Liquor (2006) broke barriers
for
a
debut
album,
mixing
unprecedented
sonic
instrumentation
with
uniquely
pointed
preaching. The Cool (2007)
brought
with
it
just
the
right amount of aggression,
maintaining trademark Lupe
swerve while still harping on
the same type of local worry
with which he grew up. And
then shit went down. Lasers
(2011), the product of a long
miscommunication
between
Lupe and Atlantic Records,
was watered down and mostly
ingenuine, devoid of the soulful
swagger to which we had
become accustomed.
Tetsuo & Youth (2015) left
plenty for us to decode, most of
which we couldn’t, which was
perfectly fine. The intellectual
puzzle revived Lupe’s career
after his lowest low (2012’s Food
& Liquor II), and reaffirmed his
seemingly limitless capacity for
lyrical development.
It’s
not
rocket
science;
there legitimately isn’t much
left to prove. Enter DROGAS
Light, a release that is, quite
literally, light on everything:
substantiality, implication and
even innovation. It is a light
version of his better self, a
diverse compilation of mostly
bubbly throwaways that are
more suited for a concert
setting than a Rap Genius
seminar. It may not be the Lupe
we want, but it’s one with which
we should probably become
comfortable at this point.
It’s evident as early as the
second track. If “NGL” is meant
to be a political statement,
it’s outdone in substance by
earlier Lupe, and outdated in
sound by, well, 2017. A Ty Dolla
$ign feature can’t save what
sounds like off-brand Lupe.
Seemingly one quip away from
having a much-needed bite,
that informed aggression never
comes, instead proving that
Lupe has settled
for this. He knows,
and we know, that
he is, and has done,
better.
“Jump”
is
a
brighter
note,
his trademark flow on full
display
over
pulsing
and
shifty production. Recklessly
assertive, it brings with it a
palpable punch. The substance
of the song lends itself to the
smorgasbord of worry (e.g.
material
obsession,
Black
plight,
familial
strength,
sexual intimacy) Lupe explores
throughout the album, all nods,
undoubtedly, to his legacy. It
becomes clear that he wants to
be remembered as someone who
cared. We hear this in “High,”
which boasts a futuristic sound
draped in layers of pitchy
background accompaniment as
he pleads to be sent to the rap
heavens.
“Kill”
is
Kendrick-esque
in its effortless cool, which is
ironic to even claim, as Lupe
arguably laid the foundation for
Lamar’s later adapted mastery
of a vibe-infused political flex.
Borrowing linguistically from
To Pimp a Butterfly’s “These
Walls,” Fiasco shifts thematic
focus from Lamar — “My n---a,
if these poles could talk / If the
stage grew another pole, got up
and walked / Gotta kill these
dollars, it can’t be an assault
/ Need your real love, mama,
you can’t be in my thoughts”
— but hits with the sort of
emotionally-charged
appeal
that made us fall in love with
him in the first place. Reasoning
with
the
seemingly
more
ignorant public about women’s
worth in society (uniquely, in
this case, through the lens of
a stripper) is the danger with
which Lupe should probably
still be flirting, because he’s
proven over the course of
his career that he’s able to
effectively do so. A provocative
hook with Ty Dolla $ign and
Victoria Monét cements the
track as the album’s best.
A relatively strong initial
push can’t hide what feels
like a somewhat half-hearted
final stretch. “Law” plays as
a cheap attempt at intimacy;
“Pick up the Phone” fragments
itself with an annoying hook;
“It’s Not Design” showcases
Lupe’s
lyrical
versatility
and even creativity (“And in
the futuristic / Love will be
reduced to physics / Computer
digits made by robots / That use
statistics, algorithms, and group
logistics”), albeit alongside out
of place production, the same
issue that plagues “Wild Child”
one track later. The sincerity
of “More Than My Heart”
manages to salvage some of the
back end’s lost momentum.
Regardless of album-wide
fluidity
(or
lack
thereof),
DROGAS
Light
cannot
be
listened to pretentiously nor
contextually.
It
becomes
apparent fairly quickly that
it’s not a release singularly
intended
to
enlighten.
Compartmentalization
is
vital in its listening approach;
consciously dense Lupe is rarely
in appearance, and deliberately
so, eschewed in favor of a
more carefree aura. After all,
this Lupe 2.0 (better yet, Lupe
Light) is all that’s left, and for
good reason. His legendary
record speaks for itself. He said
it best himself when he claimed
this release as being Lasers,
refined. Well, Lasers was kind
of trash, and while DROGAS
Light deserves more credit than
trash, it’s certainly nowhere
close to gold.
JOEY SCHUMAN
Daily Arts Writer
1ST & 15TH
DROGAS Light
Lupe Fiasco
1st & 15th
ComCo’s ‘PMS’ brilliant
Describing
ComCo,
the
University’s oldest student-run
improv comedy troupe, is an
impossible task. In three words,
I’d say: brilliant,
effulgent
and
wacky. As one of
the undergraduate
community’s
favorite
groups
on campus, I had
high expectations
for ComCo before
I saw it for the first
time in September.
When
Quinn
O’Connor — a freshman and new
member — stood up with a straight
face and said, “I like my man like I
like my hat: Sitting on my face,” I
knew I was in the right place. The
group is currently comprised of
nine inimitable and contrasting
members,
freshman
through
senior, who fit together perfectly
to create this eclectic and quirky
group.
“I’m in a group with eight
amazing other people who are
all so different in what they are
studying, where they are from,
and their interests,” O’Connor
said.
ComCo shows are a popular,
once-a-month Friday night event
in Angell hall. They are always
packed with friends, fans and
students who come
anticipating
an
hour-and-a-half of
hilarious
improv
comedy. Many of
ComCo’s
shows
attract over 300
audience members,
some of whom are
willing to sit in
the aisles if there
are no seats left
(something I’ll admit to doing).
The community that ComCo has
built at the University, has given
students an outlet to laugh, be silly,
have fun and separate themselves
from
the
stressful
academic
world in which they spend their
everyday lives.
The ComCo players never miss
a beat during a show, getting
laughs with every bit they play.
They
work
impeccably
well
together given the quick speed and
impromptu nature of the scenes.
In speaking with members of the
group, and seeing them perform
together, it is clear that the key
to the popularity of ComCo is
the
connection
between
the
members. They are undoubtedly
comfortable with one another and
have a strong familial bond off the
stage.
“Overall, ComCo has shown
me unconditional love (take that,
mom and dad), taught me how
to accept others for who they
are, and how to turn stairs into a
sexual object,” added freshman
Zoe Moore.
In a time when negativity
and antagonism surround us, it
is important to find an outlet or
an escape. ComCo is a space that
keeps the audience laughing non-
stop from the minute they walk
in the door. That feel-good, belly-
laughing, brings-tears-to-the eyes
kind of performance that ComCo
delivers time and time again is just
the kind of art we all need to be
going to see.
ELI RALLO
Daily Arts Writer
COMMUNITY CULTURE PREVIEW
Oscar Nominated
Shorts: Live Action
ShortsHD
Michigan Theater
ComCo presents:
PMS I Love You
Angell Hall
Auditorium A
Friday, February
18th @ 8 P.M.
Free
OSCAR ROUND-UP
MUSIC REVIEW
6 — Friday, February 17, 2017
Arts
The Michigan Daily — michigandaily.com
Read more at
MichiganDaily.com